"It's sort of a no-brainer. And a fascinating way to think about creating a sustainable source of income to allow, even in part, artists to produce works are genuinely expensive in time and cost to create. It should also prove to artists, and anyone who frets over the illusion of print rights, that they've got nothing to worry about. This stuff is an entirely other material and colour made of light, it turns out, doesn't just magically translate to colour made of pigment the way that, say, a word-processing document does. And if anyone is really going to lose sleep over the people who are already predisposed to print things out on their shitty homes printers my only advice is to give up now. Let them and understand that there are more interesting problems to solve and if projects like 20x200 are any indication there's a whole world of people who want to help with not only their moral support but their wallets." Aaron on the Hockney show, subscription app art, and drawing on iPads.

"Unlike the iPhone and Android apps, which are built on feeds from the website, this one actually recycles the already-formatted newspaper pages. A script analyses the InDesign files from the printed paper and uses various parameters (page number, physical area and position that a story occupies, headline size, image size etc) to assign a value to the story. The content is then automatically rebuilt according to those values in a new InDesign template for the app.

It’s not quite the “Robot Mark Porter” that Schulze and Jones imagined in the workshops, but it’s as close as we’re likely to see in my lifetime. Of course robots do not make good subs or designers, so at this stage some humans intervene to refine, improve and add character, particularly to the article pages. Then the InDesign data goes into a digital sausage machine to emerge at the other end as HTML." Niiiiice.

"The iPad is an intensely personal device. In its design intent it is, truly, much more like a "big iPhone" than a "small laptop". The iPad isn't something you pass around. It's not really designed to be a "resource" that many people take advantage of. It's designed to be owned, configured to your taste, invested in and curated." On the assumptions built into devices, and what understanding them requires.

"It’s different things at different times, a serious research tool, or a communication device, but it’s a toy, I can play with it and find things I didn’t know existed." Tom Phillips has made a version of A Humument for the iPad, and I am very excited about this new.

"Halcyon is named for the mythological bird of ancient Greece, said to charm the winds and seas into a calm during the Winter Solstice. It is a spacial action puzzle game and interactive stringed instrument designed specifically for the iPad." Lovely.

"In his book of aphorisms, One Way Street, published in 1928, Walter Benjamin has a remarkable premonition. ‘The typewriter’ he says, ‘will alienate the hand of the man of letters from the pen only when the precision of typographic forms has directly entered the conception of his books. One might suppose that new systems with more variable typefaces would then be needed. They will replace the pliancy of the hand with the innervation of commanding fingers.’" I really like the notion of "commanding fingers", and understanding the movie from hands to fingers.

"Thinking about what defines a particular game medium, one doesn’t always consider elements like the player’s physical posture, and where they sit relative to their fellow players. But the experience of playing a digital game with a friend on the iPad proves quite different than that of sitting side-by-side on a couch with Xbox controllers in hand, or sitting alone with a mic strapped to your head. Your sense of posture and presence is part of the game’s medium, as much as the material of the game’s manufacture. Playing Small World gave me a frisson of novel confusion, marrying the player-interactivity of a board game with the board-interactivity of a computer game. I felt the seam that joined them, but it felt right. This was something new, comfortable, and fun." Jason McIntosh on how tablet gaming is similar to the "cocktail" cabinets of old.

Fantastic. If you're like me, and use One Gmail Account To Rule Them All, but use Mail as your email client, you can only use the main email address to send from. This allows you to pick a from address, making your mailing lists work again, and allowing you to pick the From address on send.

"When I look at the iPad, I see something my dad could use without hand-holding to find the history of that banjo, to seek out those screws, to look at old video of Sonny Terry, to feed his glorious practical creativity, unencumbered by the need to learn the habits and quirks of computing, and not relying upon a transatlantic support department. There’s a liberation in open things (and opening things) but there’s a far greater one in how things can open up people." Nick Sweeney is right.

"No huge surprises, except maybe that I changed to dark toolbars. No multi-column reading, no fake book-page animations, and no giant newspaper graphics." Great explanation of Instapaper on the iPad from Marco. And: I'm sure it'll be great; in the past two months, I've become a total Instapaper convert.

"As an industry, we need to understand that not wanting root access doesn’t make you stupid. It simply means you do not want root access. Failing to comprehend this is not only a failure of empathy, but a failure of service."

"In five years, the coolest stuff on the iPad shouldn’t be Spider-Man 5, Ke$ha’s third album, or the ePub ver sion of Annabel Scheme. If that’s all we’ve got, it will mean that Apple suc ceeded at invent ing a new class of device… but we failed at invent ing a new class of content. In five years, the coolest stuff on the iPad should be… jeez, you know, I think it should be art."